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The Academy Award Winning Marvel Cinematic Universe
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Buy Fox > transfer Fox-Constantine contracts to Marvel > hail Doom
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Unless their contract has an escape clause if they are bought out by anyone.
Hey, I'm trying to not get myself too excited for a FF/Doom Marvel movie.
Yeah, X-men I don't really care about. Fox has done a couple of good x-men films, even though they're far from being the same characters I grew up with.
F4 would be huge tho. Doom, Galactus, Surfer, Negative zone etc etc. So many great characters and things they could incorporate without even using the first family.
F4 would be huge tho. Doom, Galactus, Surfer, Negative zone etc etc. So many great characters and things they could incorporate without even using the first family.
I doubt that it's happening but it would be amazing for the additions to the cosmic side alone.
Long term Disney is gonna own all of us so it doesn't even really matter in the grand scheme of things.
Long term Disney is gonna own all of us so it doesn't even really matter in the grand scheme of things.
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Marvel Studios makes superior cape flicks. All that other stuff is irrelevant to me. I'd like a decent F4 movie and to see Cyclops and Storm treated with respect on film before I go. I don't feel like I'm asking for a lot.
I'm assuming even in that case it would find its way to Disney. Who else would be willing to put down the money?
Most likely. Constantin and Fox are notoriously silent on the matter.
Remember this what happened with Spider-Man when those Sony e-mails leaked, AND THEN IT HAPPENED.
I'm gonna agree with you here, I feel like the MCU is sort of a tight-ish knit narrative, and I don't see how they could effectively, or even what they would gain by integrating the X-Men into their universe. Fantastic Four is a whole different story however (mainly just for the villains). Galactus and Doom would be AMAZING.
Oh, I know. I'm no less excited. Just clarifying lol. It's great that is something we know they've at least broached with each other.
So we're almost exactly 6 months away from Infinity War and I thought it'd be fun to write stuff in anticipation of it. So I'm planning on doing write-ups for every single MCU movie, 3 a month starting with Thor: Ragnarok.
Thor: Ragnarok
What are you, Thor, god of hammers?
As an adaptation of Norse mythology into the world of comics, Thor has always held a unique position within the Marvel Cinematic Universe. It was laden with pre-conceptions about the viability of a god among superheroes and films bearing his name have been a reflection of the insecurity in their interpretation. Previous depictions of the eponymous hero on the big screen have ranged from faux-Shakespearean to faux-Tolkien, riddled with an anemic cast of supporting characters and struggling to ever fully embrace the uniqueness of the property. The balancing act between keeping it grounded and showing the mythological side of the MCU ultimately ended up with everyone falling flat on their face. Thor: Ragnarok, however, succeeds where both Kenneth Branagh's Thor and Alan Taylor's The Dark World failed. In his third ousting the God of Thunder finally finds a voice of his own and it only took the end of the world to do so.
Using Ragnarok as a backdrop, Taika Waititi undoes almost everything we know about Thor and propels the character on his arc to become king of Asgard with an elegance and energy to make one dizzy. As the bits and pieces fall left and right off the chopping board (the failed relationship to Jane Foster is handwaved away as a "mutual dumping"; Thor's brothers in arms are mowed down easily by Hela) it becomes increasingly clear what Waititi's mindset was when creating Ragnarok: Thor's story is a preposterous one and everything that is not has no place here. Without missing a note he takes us from a wisecracking Thor facing Surtur in the depths of Hel (while dangling from a chain) to walking in on a ridiculous stage re-enaction of Loki's (presumed) demise in The Dark World. Even a short trip to Earth puts Thor and Loki into the magical realm of Doctor Strange's house where Waititi proves his expertise in setting a scene. In a few minutes and with a fraction of the VFX he accomplishes more than Stephen Strange's first silver screen outing manages to do during its entire runtime. The Socerer Supreme and his powers appear both seductive and desorienting at the same time; as mysterious as magic would be - if it were real. It's a lesson worth remembering for the next Strange film. The sorcerer is willing to help the brothers find their father but actually he just wants the two off Earth as soon as possible. It's almost as if the director wants to tell us something. Thor and Loki are transported to a serene albeit poorly greenscreened Norway where Odin bids his sons his last farewell but not before warning them of the impending threat: His firstborn and Thor's elder sister Hela, the Goddess of Death, has escaped from her prison and is out for revenge. Hela quickly dispatches of the two brothers and leaves them stranded on the planet Sakaar (destroying Thor's trusty hammer Mjolnir, the source of his power, in the process) while she conquers Asgard. This sets up the initial conflict of the film.
In a rather undignified way, Thor is caught by the bounty hunter Valkyrie and is sold to the Grandmaster, Sakaar's tyrannical ruler and organizer of the Conquest of Champions. To earn his freedom, Thor has to fight the Grandmaster's champion, the "Incredible" Hulk. Sakaar is distinctly alien and a stark reminder of Marvel's history and Jack Kirby's role in it. Taking cues from Guardians of the Galaxy, it is a synth-infused tribute to science fiction movies from the 80s. Amidst this finds himself Thor, beaten and alone. Everything is taken away from him - even his golden mane gives way to a semi-poorly haircut befitting a gladiator - and leaves him only with his raw abilities to fight for his life. Back on Asgard, Hela uncovers Asgard's true history as a kingdom built on bloodshed and conquest. At this point, the only remaining mainstrays of the series are Thor, his brother Loki and the all-seeing Heimdall. By chipping away more and more from the formless piece of marble that was the Thor franchise, Waititi reveals what it could have been and more importantly what it could be in the future.
As the story of Thor: Ragnarok unfolds, two things become increasingly noticeable. Gone are the days of stilted acting befitting a high school staging of Macbeth giving way to confident performances. Hemsworth feels more comfortable than ever in the role of the God of Thunder who is just a little too sure of himself. The rest of the cast similaly revels in the ridiculousness of it all. Cate Blanchett, while one note like so many Marvel villains, does so with a playful arrogance worthy of being Odin's daughter. Valkyrie is given such physicality and presence by Tessa Thompson, that it makes the shortcomings of Natalie Portman's Jane Foster even more apparent. Jeff Goldblum brings such an off-kilter vibe to the Grandmaster that it begs the question how many of the lines were actually in the script. The breakout stars of Ragnarok, however, are Thor's fellow gladiators Korg (voiced by the director himself) and Miek. The soft-spoken Korg looks like a blue version of the Fantastic 4's Thing and adds an anti-climatic note reminiscent of Waititi's previous work to everything he says. Lines are delivered with such a matter-of-fact-ness and nonchalance that one is easily prone to miss the underlying humour. Miek, an insect with blades for hands, has no lines and is only seen in the background striking fighting poses and being woefully useless. And yet they make it fairly easy to forget that Thor's presumably best friends were killed just minutes before.
What truly sets Ragnarok apart from its predecessors is Taika Waititi's unmistakable touch. While the irreverent Kiwi humour permeates every fibre of the film, it is the storytelling sensibilities that tie the seemingly chaotic elements together and shape them into the tour de force that it is. Ragnarok weaves character arcs, storylines from and callbacks to multiple MCU movies like no other, justifying the shared universe and its serial nature as more than just a marketing gimmick. What's even more impressive is that Waititi makes an insanely satisfying action comedy that directly tackles colonialism and slavery. While many Marvel Studios movies have dabbled their toes into other genres and themes, Ragnarok does so unabashedly. Asgard's entire history is built on the backs of the people conquered by Odin. At one point Hela asks "Where do you think all this gold comes from?" On Sakaar, its inhabitants are mounting a revolution against the Grandmaster. When his henchwoman Topaz mentions his slaves, he becomes irritated at her use of the "s-word" and shows visible comfort at her referring to "prisoners with jobs" instead. It is also no coincidence that Thor and company kick ass to Led Zeppelin's Immigrant Song.
The first film set Thor on a path to become worthy of being the king of Asgard. In Ragnarok he has to choose what he wants to be king of. In many ways, the film is an extended metaphor for the franchise itself. A franchise on shaky ground and had to be destroyed to be rebuilt from the ground up. Because like Ragnarok in mythology, it does not represent an end but a new beginning - both for Asgard as well as its ruler.
Thor: Ragnarok
What are you, Thor, god of hammers?
As an adaptation of Norse mythology into the world of comics, Thor has always held a unique position within the Marvel Cinematic Universe. It was laden with pre-conceptions about the viability of a god among superheroes and films bearing his name have been a reflection of the insecurity in their interpretation. Previous depictions of the eponymous hero on the big screen have ranged from faux-Shakespearean to faux-Tolkien, riddled with an anemic cast of supporting characters and struggling to ever fully embrace the uniqueness of the property. The balancing act between keeping it grounded and showing the mythological side of the MCU ultimately ended up with everyone falling flat on their face. Thor: Ragnarok, however, succeeds where both Kenneth Branagh's Thor and Alan Taylor's The Dark World failed. In his third ousting the God of Thunder finally finds a voice of his own and it only took the end of the world to do so.
Using Ragnarok as a backdrop, Taika Waititi undoes almost everything we know about Thor and propels the character on his arc to become king of Asgard with an elegance and energy to make one dizzy. As the bits and pieces fall left and right off the chopping board (the failed relationship to Jane Foster is handwaved away as a "mutual dumping"; Thor's brothers in arms are mowed down easily by Hela) it becomes increasingly clear what Waititi's mindset was when creating Ragnarok: Thor's story is a preposterous one and everything that is not has no place here. Without missing a note he takes us from a wisecracking Thor facing Surtur in the depths of Hel (while dangling from a chain) to walking in on a ridiculous stage re-enaction of Loki's (presumed) demise in The Dark World. Even a short trip to Earth puts Thor and Loki into the magical realm of Doctor Strange's house where Waititi proves his expertise in setting a scene. In a few minutes and with a fraction of the VFX he accomplishes more than Stephen Strange's first silver screen outing manages to do during its entire runtime. The Socerer Supreme and his powers appear both seductive and desorienting at the same time; as mysterious as magic would be - if it were real. It's a lesson worth remembering for the next Strange film. The sorcerer is willing to help the brothers find their father but actually he just wants the two off Earth as soon as possible. It's almost as if the director wants to tell us something. Thor and Loki are transported to a serene albeit poorly greenscreened Norway where Odin bids his sons his last farewell but not before warning them of the impending threat: His firstborn and Thor's elder sister Hela, the Goddess of Death, has escaped from her prison and is out for revenge. Hela quickly dispatches of the two brothers and leaves them stranded on the planet Sakaar (destroying Thor's trusty hammer Mjolnir, the source of his power, in the process) while she conquers Asgard. This sets up the initial conflict of the film.
In a rather undignified way, Thor is caught by the bounty hunter Valkyrie and is sold to the Grandmaster, Sakaar's tyrannical ruler and organizer of the Conquest of Champions. To earn his freedom, Thor has to fight the Grandmaster's champion, the "Incredible" Hulk. Sakaar is distinctly alien and a stark reminder of Marvel's history and Jack Kirby's role in it. Taking cues from Guardians of the Galaxy, it is a synth-infused tribute to science fiction movies from the 80s. Amidst this finds himself Thor, beaten and alone. Everything is taken away from him - even his golden mane gives way to a semi-poorly haircut befitting a gladiator - and leaves him only with his raw abilities to fight for his life. Back on Asgard, Hela uncovers Asgard's true history as a kingdom built on bloodshed and conquest. At this point, the only remaining mainstrays of the series are Thor, his brother Loki and the all-seeing Heimdall. By chipping away more and more from the formless piece of marble that was the Thor franchise, Waititi reveals what it could have been and more importantly what it could be in the future.
As the story of Thor: Ragnarok unfolds, two things become increasingly noticeable. Gone are the days of stilted acting befitting a high school staging of Macbeth giving way to confident performances. Hemsworth feels more comfortable than ever in the role of the God of Thunder who is just a little too sure of himself. The rest of the cast similaly revels in the ridiculousness of it all. Cate Blanchett, while one note like so many Marvel villains, does so with a playful arrogance worthy of being Odin's daughter. Valkyrie is given such physicality and presence by Tessa Thompson, that it makes the shortcomings of Natalie Portman's Jane Foster even more apparent. Jeff Goldblum brings such an off-kilter vibe to the Grandmaster that it begs the question how many of the lines were actually in the script. The breakout stars of Ragnarok, however, are Thor's fellow gladiators Korg (voiced by the director himself) and Miek. The soft-spoken Korg looks like a blue version of the Fantastic 4's Thing and adds an anti-climatic note reminiscent of Waititi's previous work to everything he says. Lines are delivered with such a matter-of-fact-ness and nonchalance that one is easily prone to miss the underlying humour. Miek, an insect with blades for hands, has no lines and is only seen in the background striking fighting poses and being woefully useless. And yet they make it fairly easy to forget that Thor's presumably best friends were killed just minutes before.
What truly sets Ragnarok apart from its predecessors is Taika Waititi's unmistakable touch. While the irreverent Kiwi humour permeates every fibre of the film, it is the storytelling sensibilities that tie the seemingly chaotic elements together and shape them into the tour de force that it is. Ragnarok weaves character arcs, storylines from and callbacks to multiple MCU movies like no other, justifying the shared universe and its serial nature as more than just a marketing gimmick. What's even more impressive is that Waititi makes an insanely satisfying action comedy that directly tackles colonialism and slavery. While many Marvel Studios movies have dabbled their toes into other genres and themes, Ragnarok does so unabashedly. Asgard's entire history is built on the backs of the people conquered by Odin. At one point Hela asks "Where do you think all this gold comes from?" On Sakaar, its inhabitants are mounting a revolution against the Grandmaster. When his henchwoman Topaz mentions his slaves, he becomes irritated at her use of the "s-word" and shows visible comfort at her referring to "prisoners with jobs" instead. It is also no coincidence that Thor and company kick ass to Led Zeppelin's Immigrant Song.
The first film set Thor on a path to become worthy of being the king of Asgard. In Ragnarok he has to choose what he wants to be king of. In many ways, the film is an extended metaphor for the franchise itself. A franchise on shaky ground and had to be destroyed to be rebuilt from the ground up. Because like Ragnarok in mythology, it does not represent an end but a new beginning - both for Asgard as well as its ruler.
So how would one even incorporate mutants into the MCU at this point? Charles has been keeping the school a secret and the original five are still students? What i mean is that if there were mutants everywhere then wouldn't the Avengers or SHIELD have found out by now?
I don't see how. There's an invasion of Earth and no mutants show up to help? Not possible.
yeah, it would be a total continuity clusterfuck unless they want to introduce parallel multiverses at that point. Even if Disney got the rights it'd be better to keep them separate until we get a phase that's based on Secret Wars 2015.
Yep, that's going to be their biggest hurdle if they try to incorporate Mutants proper into the MCU. How do these people with powers go undetected for years with how prevalent superpowered people have become the previous 10 years? Either they use some Infinity Stone mumbo jumbo to soft reboot the universe and say that Mutants have always existed and that the X-Men have been established for years or they do what you say and have the Mutant X Gene just start to become active in the past 3-4 years with very few Mutants around and all hiding in secret or thinking they're InHumans.
My gut says you'd make mutants a new thing, but that doesn't work, because then Magneto and Wolverine have their whole backstories torn apart. But making it so there's always been X-Men hanging out in the background is sort of silly, too. You'd have to do some sort of hybrid take - SOME mutants have always been around, hated and feared, highly classified gene freaks. But some sort of trigger (Infinity Stone related?) activates the X-Gene for most people. Timeskip of a year or two, Charles Xavier and Erik Lehnsherr (two old school mutants) have both assembled teams to support their opposing ideologies. Maybe tie it in to Quicksilver and Scarlet Witch, having that same latent gene, activated by Strucker's experiments.
Like, they could definitely do it. It'd be messy, but it'd work.
Like, they could definitely do it. It'd be messy, but it'd work.
At this point I doubt Feige will acknowledge any of the TV shows and will just introduce Inhumans much later along with the FF if at all. Also, if Feige and Iger really have plans for getting back the X-Men then I get why Feige decided to drop the Inhumans movie (which I really wanted to happen btw).
Maybe have Professor X, erased everyone memories about mutants after magneto successfully defeated the x-men, then have the movie with professor reuniting the x-men, who are scattered trough the world, that way you don't need to make an origin story, but still reintroduce the x-men.
X-Men have never made sense as part of the Marvel universe, comics or otherwise.
Wolverine by himself though would fit in just fine in the MCU.
Could Infinity Gauntlet shenanigans explain it away? Like Thanos warps reality, and the Avengers warp it back, but not exactly?
Alright fam, hear me out.
People are so worried about Disney buying Fox and getting "the rights for Fantastic Four and X-Men" and honestly, I don't think people have wrapped their heads at what is actually going on. Do you guys remember the talks about how the X-Men and Fantastic Four deal to show up in comics and merch was getting "solved" from last year on the old forum and other places through leaks on Marvel vs. Capcom Infinite threads and stuff like that? Do you people remember how Gunn created excuses for the Watcher showing up in Vol. 2 and we getting crazy confirmations about Skrulls in Captain Marvel?
This is a very minor part of Marvel/Fox deal, but it's clear that they have been working this for a good fucking while. I'm actually legit sure that whatever happens with this deal, Disney buying 21st Century Fox or not, Fantastic Four is already part of the MCU and bound to be announced until Phase Four. People are looking to the trees and missing the forest here. Disney isn't doing this for A New Hope blu-ray rights or the X-Men and Fantastic Four. These are small fishes to fry and easily attainable through deals. What they want is get in equal foot with Netflix in the streaming game, and for that they need Fox catalogue of old titles that go far beyond superhero films, it goes from Simpsons to Titanic, Avatar, Terminator and everything in between. That's what the deal that was revealed today is about. What about the Fantastic Four and the X-Men then? Well...
F4 in the MCU is literally a badly kept secret at this point. Disney and Fox are working together, and they've been working together for a good while, and that probably was facilitated when Feige became independent of Perlmutter. Marvel and Fox are indeed working together, and what basically made the deal "fall through" at this point was a price since Disney wasn't going for the whole company. I wouldn't even doutbt that they have a programmed plan to bring the X-Men into the MCU too, eventually. The whole idea that Marvel and Fox are incapable of working together was smoke and mirrors. That cover up doesn't exist anymore. So people worried about Marvel Studios getting a hold of the Fantastic Four and even the X-Men eventually, this is Kevin Feige and Disney right now:
They literally aren't announcing anything about this because now it's not the right time. Just watch. Gunn lied to us. The only that told us the truth was the legend, Stan Lee:
http://comicbook.com/marvel/2017/09/13/stan-lee-marvel-getting-x-men-fantastic-four-back/
People are so worried about Disney buying Fox and getting "the rights for Fantastic Four and X-Men" and honestly, I don't think people have wrapped their heads at what is actually going on. Do you guys remember the talks about how the X-Men and Fantastic Four deal to show up in comics and merch was getting "solved" from last year on the old forum and other places through leaks on Marvel vs. Capcom Infinite threads and stuff like that? Do you people remember how Gunn created excuses for the Watcher showing up in Vol. 2 and we getting crazy confirmations about Skrulls in Captain Marvel?
This is a very minor part of Marvel/Fox deal, but it's clear that they have been working this for a good fucking while. I'm actually legit sure that whatever happens with this deal, Disney buying 21st Century Fox or not, Fantastic Four is already part of the MCU and bound to be announced until Phase Four. People are looking to the trees and missing the forest here. Disney isn't doing this for A New Hope blu-ray rights or the X-Men and Fantastic Four. These are small fishes to fry and easily attainable through deals. What they want is get in equal foot with Netflix in the streaming game, and for that they need Fox catalogue of old titles that go far beyond superhero films, it goes from Simpsons to Titanic, Avatar, Terminator and everything in between. That's what the deal that was revealed today is about. What about the Fantastic Four and the X-Men then? Well...
F4 in the MCU is literally a badly kept secret at this point. Disney and Fox are working together, and they've been working together for a good while, and that probably was facilitated when Feige became independent of Perlmutter. Marvel and Fox are indeed working together, and what basically made the deal "fall through" at this point was a price since Disney wasn't going for the whole company. I wouldn't even doutbt that they have a programmed plan to bring the X-Men into the MCU too, eventually. The whole idea that Marvel and Fox are incapable of working together was smoke and mirrors. That cover up doesn't exist anymore. So people worried about Marvel Studios getting a hold of the Fantastic Four and even the X-Men eventually, this is Kevin Feige and Disney right now:
They literally aren't announcing anything about this because now it's not the right time. Just watch. Gunn lied to us. The only that told us the truth was the legend, Stan Lee:
http://comicbook.com/marvel/2017/09/13/stan-lee-marvel-getting-x-men-fantastic-four-back/
Way too much coincidence, way too much stuff happening behind the scenes and Gunn screaming and being very vocal about a deal for Teenage Negasonic Warhead for Ego. Of course that Gunn couldn't say anything, AND OF COURSE THAT ALL OF THEM KNEW ABOUT THIS. This deal didn't happen in the last weeks, it's probably developing since 2015 or even before that. Watcher, Skrulls, Russo Brothers promising "surprise appearances" for the Avengers films... there's something going on, and I just think it's feasible to believe that it's just a coincidence. Marvel wouldn't start playing nice with Fox like they did for quite some time with TV if there wasn't a reason. Here's the reason. Disney couldn't buy Netflix, well, neither it would make sense because Netflix don't own most of their content. They are going for Fox because of their content catalogue from past and future, NOT the X-Men or the F4.
What's up with these YouTube dopes saying this would ruin movies and "Disneyfy" them? Do they just ignore Touchstone, Mirimax, Dimension, and others that have brought way darker shit?
Swear I've seen
..what's with this narrative?
Swear I've seen
Misty Knight's swinging tits while Luke Cage was serving her coffee
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You're talking about a group of people for whom The Dark Knight is their Godfather and Christopher Nolan is their Francis Coppola.
Nerds, man.
That's true. There's Warner Bros, but they have their hands full with their own comic book franchise. There's Paramount, but they passed their Marvel movies to Disney/Marvel Studios. Universal? They can't even get their Dark Universe off the ground.
The Dark Knight is dope. Christopher Nolan has been my dude since Memento. I don't see the correlation, and I hope this post is just a joke. Like..how do you ignore EVERYTHING under the umbrella just to say the word Disney? lol..The fuck..
"Sony is still making Spider-Man spin-offs and is ruining/keeping extra spider-man characters away from the MCU. Disney needs to buy back the full Spider-Man film rights ASAP."
Rightfully so. If Kraven or Mysterio gets its own movie or shows up in that Black Cat film I'll riot.
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